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Born in 1982, Cambridge, UK

EDUCATION

2004-06                       MA Printmaking, Royal College of Art, London

2001-04                       BA [Hons] Fine Art Printmaking (First Class), University of Brighton

2000-01                       Foundation Studies in Art and Design, Cambridge Regional College

SOLO EXHIBITIONS

2009
Man & Eve
           
SELECT GROUP EXHIBITIONS

2012
The First Cut, Manchester Art Gallery
Royal Academy Summer Exhibition
ArtHK - Hong Kong
Kaleidoscope, Patrick Heide Contemporary Art, London

2011
PULSE Miami
Small Print, Aspex Gallery, Portsmouth
Cartoon, The Silver Cloud Gallery, London
IV, The Curwen Rectory Gallery, London

2010
The Jolly (Good) Show - Collyer Bristow, London
Here and Again - Patrick Heide Contemporary Art, London
ArtHK - Hong Kong

2009
NADA - Miami

2008
Material Worlds - Barts Gallery, Barts Hospital, London
10: The Chris Orr Years 1998 – 2008 - Royal College of Art, London
Summer - Knoedler Project Space, New York
Black Light - The Street Gallery, University College Hospital, London

2007
Paper Thin Worlds - Man & Eve, London
Spearcraft - Standpoint Gallery, London
Red Hook Art Show - Brooklyn, New York
Obsession Durch Technik - artMbassy, Berlin
ARTfutures - The Contemporary Art Society, Bloomberg Space, London
System Error: War Is a Force That Gives Us Meaning - Palazzo delle Papesse, Centro Arte Contemporanea, Siena
Sea Change - Mark Jason Gallery, London
Air Guitar and Two Teaspoons - Bischoff/Weiss Gallery, London
Hot Off The Press - Curwen & New Academy Gallery, London

2006   
Bloomberg New Contemporaries 2006 - The Coach Shed, Liverpool (as part of the Biennial), Club Row, Rochelle School, London
SNAP - The Street Gallery, University College Hospital, London
Cut And Paste - The Old Sweet Shop, London
No Man Is An Island - The Empire, Bethnal Green, London
Starting A Collection - Art First, Cork St, London
The Show - Royal College of Art, London
Paperworks - Paper Art Now, Bury Art Gallery, Manchester 

COMPETITIONS, PRIZES AND AWARDS

2006               
The Printmakers Council Award, The Show, Royal College of Art, London
Short Listed for The Conran Prize, The Show, Royal College of Art, London

RESIDENCIES

2005               
Cité Internationale des Arts, Paris

COLLECTIONS

Philbrook Museum of Art, USA
The London Clinic
Sir Terence Conran private collection
The West Collection
Private Collections, UK, Sweden and USA

TEACHING

2012
Public programme leader, Philbrook Museum of Art, USA
Workshop leader, V&A Sanctuary, V&A Museum, London
Workshop leader, The Matchbox Workshop, Vital Arts Festival, The Royal London Hospital
Workshop leader, Make Series, West Collection, USA

2011
Visiting lecturer, University of Brighton
Workshop leader, The Big Draw's Big Splash, King's Place, London
Workshop leader, The Candlelit Matinee at Apple Cart, with the House of Fairytales
Workshop leader, Take A Closer Look with The Big Draw, City of London Festival
Workshop leader, The Matchbox Workshop, British Museum, London
Visiting lecturer, Cambridge Regional College

2010
Workshop leader, ReachOutRCA, Royal College of Art

STATEMENT

Sarah Bridgland’s diminutive paper creations inhabit the territory between sculpture and collage. Delicately fashioned out of second-hand ephemera collected from junk shops and fragments of Bridgland’s own printed media, they create spaces where the real and the imagined co-exist, where fact and fiction collide. Each piece is a myriad of textures, shapes and lettering, reflecting Bridgland’s interest in the formal concerns of the Russian avant-garde and Constructivism.

Bridgland is fascinated by the marriage of forms and her work celebrates this. Playful in approach, it explores the endless permutations of the cut out as a miniature type of reality. Recalling the mobile paper engineering of children’s pop-up books and toy theatres it exploits the cut-out’s potential to create a narrative, make-believe world, where Bridgland employs each piece as if it were an actor or a prop in a play. Rather than writing a story, though, Bridgland is interested in the way chance narratives are invoked through the arrangement of the cut-up material. Adopting a formal language, Bridgland organizes space by balancing the effects of different typefaces and graphics, textures and colours, to create a kind of three-dimensional drawing in which snippets of imagery and information invite the viewer to make their own associations, imaginary conversations between the juxtaposed forms.

Exploring the intimate link between object and memory, there is a simultaneous sense of both loss and preservation in Bridgland’s work. A desire to hold on to the past contends with a process that necessarily destroys it. Using forms and materials that are explicitly nostalgic, each element becomes part of a constructed history as time is re-arranged and the viewer is invited to re-experience the past in an entirely new way – half real, half imagined. The intimate scale of the work encourages daydream and reverie, heightened by wonder at its meticulous craftsmanship. Bridgland plays upon our desire to dream, creating miniature worlds made all the more enchanting by the comforting ordinariness of the their constituent parts before they spring collectively to life.